bio/press

JOHN GOETZ
SWITZERLAND CANADA

THE ONTARIO COLLEGE OF ART Toronto
SHERIDAN COLLEGE OF ART AND DESIGN Toronto

2020   Durden and Ray The Vista Abstract Painting Group
   Los Angeles

2019   Paul Kuhn Gallery Summer 2019 Group Exhibition
   Calgary, Canada
   Lee Contemporary A Different Reality Group Exhibition
   Toronto Canada

2018 Arena One Gallery Across Two Seas Curated by Luigia Martelloni Group Exhibition.
Santa Monica

2017 Hanger Gallery North More Art Here during Los Angeles Contemporary Fair ( ALAC )
   Santa Monica Airport

2016. Studio 18 LA Plural View West Hollywood Group Exhibition
   Hanger Gallery North Happenstance and Meadows Group Exhibition
   Santa Monica

2015. UMB Americas Group Exhibition Curated by Janet Bothne
   Santa Monica

2014 Yard and Weft - South Wooster St. Group Exhibition
   Winsor Gallery Group Exhibition
   Vancouver Canada

2013. Frank Gehry Edgemar Complex Annex Group Exhibition
Santa Monica Art Studios Annual Art Walk
Art O Rama Group Exhibition
Huntington Beach

2012 Hanger Gallery More Art Here Paintings Sculptures North Wall
   Santa Monica

2010. Art O Rama Group Exhibition Huntington Beach
Huntington Beach
5th and Sunset Client Lounge and Commercial Studios
Los Angeles
2009. North Hanger Gallery Group Exhibition Annual Art Openings
Santa Monica

2008. Art A Mo Group Exhibition Santa Barbara

2007 Quixote Studios Lounge Exhibitions Solo
   Los Angeles
   Art O Rama Patricia Stayrook Small Graces and Print
   Los Angeles

2006 Artamo Gallery Element and Myth New Painting Solo Exhibition
   Santa Barbara
   SKG Gallery Group Exhibition Abbott Kinney
   Los Angeles

2005 Winsor Gallery Inter Current Solo Exhibition
   Vancouver Canada
   Don O Melveny Gallery Vessel New Paintings Solo Exhibition
   Los Angeles Ca.
   Schmidler/Goetz Gallery with Gottfried Helnwien opens solo exhibition
   Los Angeles

2004 Don O Melveny Disclosures New Painting Solo Exhibition
   Los Angeles

2003. Ward-Nasse Gallery Group Exhibition with Robert Goodnough
New York NY
Don O Melveny Gallery Metropolis Solo Exhibition
Los Angeles

2002 5th and Sunset Studios City Art Group Exhibition with Boe Hess
   New York NY
   Crosby Street Venue Group Exhibition - Angelika Schubert /John Grande / Matt Rubel
   New York NY

2001 Don O Melveny Gallery Available Light Solo Exhibition
   Los Angeles
   Stark-Kibuchi Gallery Group Show Abbott Kinney
   Los Angeles

2000 5th and Sunset Studios Contemplating Beauty Solo Exhibition
   Los Angeles

   Becomes a US Resident

John Goetz, “Aphrodite," 2003, encaustic/oil/acrylic on canvas, 72”x 60”.

JOHN GOETZ May 31 - July 1/June 7 - July 9, 2003 at Don O'Melveny Gallery, West Hollywood

by Judith Christensen

John Goetz’ images are full of movement--bending, walking, running, kicking, spinning, strutting, whirling, dancing. His figures are abstracted, composed of streaks of color and gestural lines. Two-by-two or by three they parade across the canvas. The mottled chromatic background is a rich blend of bold color, marks and scratches on a thick surface made up of oil, acrylic and encaustic.

Occasionally, as in Europa, the figures are distinct enough to identify. Two females wearing bathing suits or leotards may be strolling along the beach or leaving a workout. When the figures are thus defined, we tend to focus on the who, what, where and why of the figure, rather than the emotive content of the forms.

Goetz’ more successful images suggest, rather than portray the figure. In Red DeVille, three mostly-black forms stand out against a mostly-red background. A smear of color represents the torso. A few marks and scratches imply the movement of an arm or a leg. A pale yellow glow encircles each form, activating it, pumping it full of energy. These are highly-charged colors: the powerful black figure is blasting through the passionate red space. At this level, the image reflects human emotions in a raw, primal state. But there is softness here, too. The red leans toward the yellow side of the spectrum, with pale yellow showing through the mottled background. This adds a sense of quiet joy to the exuberance.

Goetz seems to favor warm colors, but there are exceptions. He infuses the background in Iceland with a cool blue. The two figures, although they are given their share of red and black, are mostly white or pale pink. The question of whether the figures are advancing towards us or have their back to us is as unclear in the other paintings as it is in Iceland. Yet, because of the cool palette, it appears that the two figures here are becoming more distant from us and from each other as well. Despite the activity they pursue in tandem, despite their parallel motion, there is a powerful sense of isolation and of spacial mystery.

Metropolitan, with its black background, is the darkest image. Again, the figures appear to be receding from us, moving into a background that is darker, denser, deeper, more unknown and frightening than the space in which they are now, with its blotches of gray. Perhaps that is why they hover together. While most of Goetz’ figures maintain a distance from each other, these three, in Metropolitan, overlap one another close enough to touch--as if each one instinctively grasps the primordial truth of strength in numbers, as if each one needs the reassurance of being with the others.

Alone or together, stripped of all clothes and exterior accoutrements, Goetz’ dynamic figures evoke an emotional response. Whether the frenetic energy flows from them untethered, or whether Goetz blends together a range of emotions, the result is that in this group of images he portrays a complex picture of the human psyche.

John Goetz,“Europa," 2002, encaustic/alkyd/oil on canvas, 72”x 60”.

John Goetz, “Iceland," 2002, encaustic/oil/alkyd on canvas, 72”x 60”.

John Goetz, "Metropolitan Nights," 2002, encaustic/oil/alkyd on canvas, 72 x 60"